Kay Slater 2016, Untitled, Welt Wand Minden

Weltwand Minden, Wie Wollen Wir Leben?: Caritas Building (Minden, Germany) Public Art Project

World Wall Minden, How We Want Life?, a public art project.

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September 24th, 2016
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Two white people standing behind the project banner. The black banner has the show’s title Weltwand Minden to the left with text about the piece and thumbnails of the artists’ work is shown in a grid to the right. The mural work can be seen in the background.

I’m very proud to have been a part of this project and to be working alongside so many talented people.

World Wall, Miden: WORLD WALL MINDEN An art project in public space in response to the 17 UN goals for sustainable development in the world, which in September 2015 from the United Nations as “Agenda 2030” were approved.

The artwork with international participation was unveiled September 24, 2016 on the wall of the Caritas building, King Street 9, Minden. This project was made possible by the kind support of the Association for Contemporary Art Minden-Lübbecke.

For the complete project catalogue, check out: weltbaustellen_minden_katalog_10

Kay Slater 2016, Untitled, Welt Wand Minden

http://www.welthaus-minden.de/
http://webzine-minden.de/veranstaltung/weltwand-minden/
http://exhibitions.weebly.com/…/weltbaustellen_minden_katal…

A huge thank you to Carmen Papalia for putting me in contact with Katja Rosenberg, one of the local organizing artists for the project. I am deeply humbled to have played a role.

[Video description: this uncaptioned video shows the titles and details about the project in German. The 17 UN Sustainable development goals show up as black and white icons (which then appear throughout the video when an artist specifically references them in their statement or the work itself. The icons then become a mosaic of artwork as drawn by the participating artists. The images fade into a grey overlay of a world map, zooming in on Poland where the first artist (Joanna Pawlowska) begins to speak and show a video of her sketching on her ipad. The artist’s image (2 figures embracing) appears after each video/read statement or a text version of their statement appears overlaid in german across their image. Nicole Becker’s (Australia) illustration shows interlaced vines with wildlife and flowers. Katia Salvany’s (Brazil) illustration shows a group of sea turtles rendered in graphite. Kay Slater (me!) shows up next with a whole bunch of icons) and there is a longer video of me reading my artist statement. I am sitting in a blue tank top with my hair down and you can see my studio behind me. Johanna Zhang’s (China) illustration shows 3 figures under a bridge looking at a piece of paper. One person has a crutch and another leans over the paper with a pencil in their hand. Magali Guidice’s (France) illustration shows a school of fish fading out (through use of eraser and light pencil marks) overlaid with a heart monitor signal that flatlines. Elena Louse’s (Greece) illustration shows a negative/contour outlined figure bearing detailed wings on a cityscape. Freda Farooqui’s (India) illustration shows a street view with many people parading and dancing down the street followed by a seated/elevated figure on a large sunlike palanquin throne. Nilafour Lamakan’s (Iran) illustration shows two mirrored, decorated teardrop shapes where many of the opaque shapes on the left are broken down into smaller or outlined shapes on the other side. Jim Butler’s (Ireland) illustration shows 2 large abstract vertical forms in dark/heavy graphite connected by an area of lighter, diagonal hatching and a single isolated circle. Fabio Coruzzi’s (Italy) illustration shows a cityscape (with a few coloured lines) with vegetable words (potato, tomato, peppers, carrots, basil, onion, garlic and beans) coming up (or sprouting up) vertically from the top of the buildings. Siesta Zappone’s (Italy) has a quilted, under the sea scene contained in a beaker shaped delineation. Marta Claret’s (Spain) illustration swaps the genders of figures in the famous painting; Le déjeuner sur l’herbes by Manet. Samantha Anacootee’s (Mauritius) illustration incorporates an evolution of a tree into a wind farm; a school of marine fish; an oval building that is backed by acres of solar panels and some mountains. Chucho Malpica’s (Mexico) illustration portrays “Snake Rock” who in Aztec tradition is the goddess of the earth. Marcella Hanselaar’s (Netherlands) illustration shows a woman with a stitched mouth in front of a factory that spews smoke. Katrine Storebo’s (Norway) illustration shows a multilayered composition of the South Amercian rainforest with animals, a human figure and the earth. Rachel Ramirez’s (Portugal) shows 2 seahorses with their heads together surrounded by microscopic creatures of the sea further encased within a circle of stringed buoys. Martina Simonic’s (Slovenia) illustration is an abstract composition made up of a textured heart which flows into the word reconnect; some buildings that follow along some circular marks; two curved lines suggesting closed eyes. Sums Perera’s (Sri Lanka) illustration is an abstract, and textured sketch that uses heavy black lines that intersect and surround a warm orange and yellow freckled area. Peter Rapp’s (South Africa) illustration shows a dolphin (shell) whose skin has been pierced and penetrated by a huge, knotted net. The video then zooms in on a target icon over the city of Minden, Germany. In german, the text “A project of the villa Minden with the collaboration of the Association for Contemporary Art Minden-Lübbecke e.V. and guest artists” appears and then the credit roll. The credits show video of the project coordinators as their names appear on screen (Katja Rosenberg, local guest artist, Cecilia Herrero, foreign guest artist, Katja Sonntag, project direction, Gesine Frank, creative assistance). The video ends with logos from Art Catcher, Welthaus Minden, Verein für aktuelle Kunst / Ruhrgebiet e.V., and Weltbaustellen NRW. The video is credited to Eric Nagel.]

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